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MODLIN ARTS
PRESENTS
The Very Best in Music, Theatre, Dance, & Visual Arts
TAKÁCS QUARTET Friday, February 28, 2020 | 7:30pm Camp Concert Hall, Booker Hall of Music
MODLIN.RICHMOND.EDU
Please silence all electronic devices before the performance begins. Recording of any kind is strictly prohibited.
THIS EVENING’S PERFORMANCE
TAKÁCS QUARTET EDWARD DUSINBERRE, violin HARUMI RHODES, violin GERALDINE WALTHER, viola ANDRÁS FEJÉR, cello String Quartet No. 6 in B-flat Major, Op. 18, No. 6 LUDWIG VAN BEETHOVEN (1770-1827) Allegro con brio Adagio ma non troppo Scherzo: Allegro La malinconia: Adagio—Allegretto quasi Allegro String Quartet in E-flat Major, H. 277 Adagio ma non troppo Scherzo. Allegretto Romanze Allegro molto vivace
FANNY MENDELSSOHN HENSEL
(1805-1847)
— INTERMISSION — String Quartet in C-sharp minor, Op. 131 Adagio ma non troppo e molto espressivo Allegro molto vivace Allegro moderato—Adagio Andante ma non troppo e molto cantabile— Più mosso—Andante moderato e lusinghiero—Adagio—Allegretto—Adagio, ma non troppo e semplice—Allegretto Presto Adagio quasi un poco andante Allegro
LUDWIG VAN BEETHOVEN
(1770-1827)
The Takács Quartet appears by arrangement with Seldy Cramer Artists, and records for Hyperion and Decca/London Records. The Takács Quartet is Quartet-in-Residence at the University of Colorado in Boulder and are Associate Artists at Wigmore Hall, London www.takacsquartet.com
PROGRAM NOTES String Quartet in B-flat Major, Op. 18, No. 6 Ludwig van Beethoven Born December 16, 1770, in Bonn. Died March 26, 1827, in Vienna. In his first string quartets, Beethoven summed up the accomplishments of his two predecessors, Haydn and Mozart, and laid the groundwork for the momentous advances in technique and expression that he was to make in his mature quartets. Op. 18 is a set of six quartets written between 1798 and 1800 and published in 1801 at the same time as he finished his first symphony. In his early years, Beethoven composed piano trios that are twice as long as most of Haydn’s trios and sonatas, and more serious and difficult than any that had come before. At that time, he also wrote his first piano concerto and some chamber works. When he completed his first quartet series, the works were found to be too arduous for most quartets to perform, and they presented a challenge to most listeners as well. Although Beethoven was a revolutionary, he was not the sort of revolutionary who forced a dramatic break with his predecessors, but was, as the musicologist Donald Francis Tovey said, “the most conservative of revolutionists.” Thus his development of the quartet form maintained a continuity with that of Mozart and Haydn. Beethoven, who unlike his predecessors was not himself a string player but a pianist, assimilated Mozart’s and Haydn’s work for the medium and moved forward. This quartet is the last quartet in his first group, and like the others in this opus — only more so — it shifts the weight of the quartet from the first movement to the last. It also changes the nature of the quartet, centering its sound in the middle range, often associating the second violin with the viola allowing the first violin and the cello to share ideas in dialogue. Beethoven begins the genial first movement, Allegro con brio, with the statement of a rather unassuming theme that grows in importance as the movement progresses. This movement is rather light yet energetic and melodic with a brief development. In the second movement, Adagio ma non troppo, the music reaches a serious depth of quietly flowing pathos, giving the first violin predominance with an elegant aria that the other three instruments support. This movement has a straightforward form with a spare second section introducing a new theme, at first softly but then more forcefully. The initial theme returns in full before the coda reintroduces the middle section, and a pizzicati concludes the movement. The third movement, Scherzo: Allegro, is the most famous of the third movements of this opus. It is particularly notable for its technically demanding rhythmic figurations made up of cross rhythms and syncopations.
PROGRAM NOTES The final movement, La Malinconia: Adagio; Allegretto quasi allegro, begins with an introduction suffused with melancholy that Beethoven directed must be played “colla più gran delicatezza” (“with utmost delicacy”). It is a harmonic tour-de-force, extraordinarily advanced for its time, in which pathos is again felt. Philip Radcliffe, in his book on Beethoven’s string quartets, goes so far as to say that if this were scored for a full orchestra, it would not sound amiss in a Wagner opera. A carefree dance-like rondo theme contrasts with it, dispelling the overcast mood of the beginning. Paul Griffiths in his book on the string quartet wrote, “this remarkable movement is a dialogue of adagio and allegro but in a... searching manner, the chromatic “La malinconia” appearing briefly twice within the main body of the movement as well as at the start, seeming to be both the natural spur and the inevitable consequence of the fast music’s racing gaiety.” String Quartet in E-flat Major Fanny Mendelssohn Hensel Born November 14, 1805 in Hamburg. Died May 14, 1847 in Berlin. Fanny Mendelssohn Hensel, whose brother was Felix Mendelssohn, dedicated much effort to composing short song-like piano pieces throughout her life. At the time, the lied for piano, as these pieces were called, was deemed an appropriate genre for women composers. These were short works thought to be feminine as well as effective for house concerts. An early critic noted in the Allgemeine musikalische Zeitung that, in comparison to works of her brother in the same genre, Hensel’s “fantasy is permitted a freer reign, and form is applied with broader brush strokes.” As she did not compose for the public sphere, she allowed her works to juxtapose unrelated harmonies and unusual chromatic progressions. Many were simple and song-like, with a clear homophonic texture, but some were too technically challenging to have met the needs of the market of her time. She charmed her audiences at the salons where she played by performing her own more difficult works, which highlighted her virtuosic piano technique. Her usually moderate tempi showcased her lyrical expressiveness. The String Quartet in E flat Major, not published until 1988, was composed in 1834, although its origins lay in Hensel’s abandoned piano sonata of 1828. For this work, one of the very first significant string quartets composed by a woman, she revived and revised the first two movements, substituted a new third movement, Romanze, for what had been a Largo, and fitted it with a swift finale to expand it to the full four movements. Although he liked the third movement, her brother Felix criticized this work overall: “I must take to task the compositional style of the work in
PROGRAM NOTES general or, if you wish, the form. I would advise you to pay greater heed to maintaining a certain form, particularly in the modulations — it is perfectly all right to shatter such a form, but it is the contents themselves which must shatter it, through inner necessity; without this, such new or unusual formal turns and modulations only make the piece more vague and diffuse.” In her reply to him, although she thanks him for the “well-founded critique,” she also asks if he might have the quartet played sometime, and then in a statement that is completely self-deprecating, admits, “It is not so much a certain way of composing that is lacking as it is a certain approach to life, and as a result of this shortcoming, my lengthy things die in their youth of decrepitude; I lack the ability to sustain ideas properly and give them the needed consistency. Therefore lieder suit me best, in which if need be, merely a pretty idea without much potential for development can suffice.” This thinking could certainly help to explain why she never wrote another quartet. The quartet, in four movements, begins by giving Hensel’s imagination free rein, rather unconventionally, with a slow movement, Adagio ma non troppo, written more as a free form fantasia than as a conventional sonata form. This choice of beginning caused a disagreement between Fanny and Felix, who criticized her writing as “mannered.” Mendelssohn scholar Larry Todd has pointed out that the opening bars make a “telling allusion... to the quartets of Beethoven and thus made [evident] her contribution to the august tradition of the Austro-Germanic genre.” She borrows the opening phrase of Beethoven’s Harp Quartet and uses it to generate an opening of the first movement. There are two main themes that are developed in this tonally ambiguous movement, while extra non-thematic material is considered simultaneously. The movement is characterized by a forward drive, which continues in the second movement, Allegretto, a scherzo, said to have been inspired by Paganini’s Bell Rondo from his Violin Concerto No. 2, (Todd sees affinities here to Beethoven’s Fifth Symphony), which Hensel heard in 1829. The form of this movement is much clearer. It has a ternary ABA form, with a contrasting trio, a sort of fugato that goes through modulations with harmonic turbulence. The movement ends very softly with pizzicato chords. The intense third movement, Romanze, begins with a lovely, poignant theme with repeated notes and sighing descending motives. A feeling of resignation is palpable. The movement has a dissonant, harmonically free middle section. Repeated chords bring back the initial music for recapitulation with the theme now transferred to a high tessitura. In her lack of emphasis on tonal centers and her expressive use of harmony, Hensel has begun to separate herself from classical composers, not only here where she shows signs of Romantic intensity, but also in each of the first three movements of the quartet; nevertheless, allusions to her brother’s music can still be found easily enough. Todd also sees Hensel’s
PROGRAM NOTES impetus for tonal exploration in her study of Beethoven’s music, which during this year, she mined for approaches to tonal organization and form. The quartet concludes with an energetic finale, Allegro molto vivace, which not only regains the drive of the opening movements, but also definitely has a firm tonal center, E-flat Major. With its inventiveness, this brilliant and boisterous movement follows the traditional finale rondo form. Its first theme, announced by the violins in thirds, becomes the refrain that reappears, with slight alterations each time, and then concludes the work. String Quartet No. 14, in C-sharp Minor, Op. 131 Ludwig van Beethoven Born December 16, 1770, in Bonn. Died March 26, 1827, in Vienna. String Quartet No. 14 belongs with the group of Beethoven’s final chamber masterpieces. While he was composing it, he considered writing other types of works, specifically a large work with chorus, like an oratorio, a requiem, or an opera, but when he had completed a commission for three quartets, he went on instead to write two more works for string quartet, this one and Op. 135, his last work. Beethoven made his earliest sketch for Op. 131 during the last few days of 1825; he quickly completed it during July 1826. The writing of the quartet required an intense effort at a time when he was already totally deaf and deeply troubled by his failing health as well as by the misadventures of his nephew, for whom he was responsible, and who was then threatening to commit suicide. Beethoven’s concern for his nephew was so great that he changed the dedication of the quartet, which he had intended for a personal friend, inscribing the work instead to Lieutenant Field Marshal Baron Joseph von Stutterheim, who took Beethoven’s nephew into one of his regiments as an officer cadet. In late summer, when Beethoven gave the completed score of this quartet to his publisher, he said that it was “stolen and assembled from various bits of this and that.” The publisher, in alarm, wrote to him demanding assurance that the work was, in fact, new and original. He had apparently not looked at the music, for if he had, he would certainly have understood Beethoven’s ironic jest. There could not have been anything as new as this quartet. It was totally without precedent. Huge in size and cast in entirely original shapes invented in the course of the writing, it was the final example of how far Beethoven had outgrown the forms he had inherited from Haydn and Mozart. To invent and assemble this composition in six or seven months had been an astonishing creative feat. Beethoven’s notes and sketches for the work occupy three times as much paper as the finished work.
PROGRAM NOTES This quartet seems somehow to be a leap forward into the expressive world of the early twentieth century. Although only four instruments play it, the quartet creates much of the same kind of grandeur and profundity that some larger works of Strauss and Mahler were striving for in their huge orchestral scores. In 1860, a German conductor even made a full orchestral version of this quartet with the good intention of expanding the audience for this great music, but it proved to be a clumsy travesty, and thus the arrangement has disappeared. The quartet has seven distinct parts, knit together into a continuous whole. Some scholars have claimed to reveal a nearly traditional fourmovement structure as its base, but it seems more reasonable to accept Beethoven’s demarcations and consider the seven separately. The first movement is a sad but majestic, slow fugue, Adagio, ma non troppo e molto espressivo, which the composer Wagner was to say, “shows the most melancholy sentiment ever expressed in music.” The second movement, Allegro molto vivace, begins with a key-shift that was astonishing at that time; its form still puzzles music analysts today who continue to search for the mold in which it was cast. It has been variously identified as a truncated sonata form or even as a dance comparable to those in Baroque suites. All that remains important, however, is that it exists as a form of Beethoven’s own devising, which contains lyrical, wistful music of great appeal. The third movement begins energetically, Allegro moderato, with two rapping chords, but it soon becomes an Adagio recitative introducing the glorious theme-and-variation fourth movement. In the fourth movement, the music starts with a new, flowing theme, Andante, ma non troppo e molto cantabile, which goes through seven variations. Only some of them are elaborations; others concentrate and reduce the theme to its very essence. The fifth, an expanded scherzo, Presto, has savage force. Following the Presto, a brief slow song, Adagio quasi un poco andante, runs into the finale, Allegro, the quartet’s only more-or-less regular sonata-form movement. The finale, a wild, dancing movement, has as its ancestor the finale of Beethoven’s Symphony No. 7. Some of the material also sounds distantly derived from this quartet’s own opening fugue. Here, as elsewhere in the work, there are tempo changes within phrases that are labeled rubato (meaning with expressive and rhythmic freedom), but instead of leaving them to the performers’ emotion of the moment, Beethoven has actually written them into the music. Great themes simply flash by — the music races on until just before the end, when it slows, then speeds up again, closing with a few slashing chords.
Program Notes ©Susan Halpern
YEFIM BRONFMAN
THURSDAY, APRIL 16 | 7:30PM
Camp Concert Hall Celebrating the 250th Anniversary of Beethoven’s Birth Beethoven’s Piano Sonata No. 5 in C Minor, Op. 10, No. 1; Piano Sonata No. 6 in F Major, Op. 10, No. 2; Piano Sonata No. 7 in D Major, Op. 10, No. 3; and Piano Sonata No. 23 in F Minor, Op. 57 (Appassionata).
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ABOUT THE ARTIST
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The Takács Quartet, now entering its forty-fifth season, is renowned for the vitality of its interpretations. The New York Times recently lauded the ensemble for “revealing the familiar as unfamiliar, making the most traditional of works feel radical once more”, and the Financial Times described a recent concert at the Wigmore Hall: “Even in the most fiendish repertoire these players show no fear, injecting the music with a heady sense of freedom. At the same time, though, there is an uncompromising attention to detail: neither a note nor a bow-hair is out of place.” Based in Boulder, Colorado at the University of Colorado, Edward Dusinberre, Harumi Rhodes (violins), Geraldine Walther (viola) and András Fejér (cello) perform eighty concerts a year worldwide. During the 2019-2020 season, the ensemble continues its four annual concerts as Associate Artists at London’s Wigmore Hall. Other European venues include Budapest, Hungary ; Florence and Milan, Italy; Concertgebouw in Amsterdam, Netherlands; Geneva, Switzerland; Mozartwoche in Salzburg, Austria; and Prague, Czech Republic. The Quartet’s extensive list of American engagements includes a performance at New York City’s Mostly Mozart Festival with Jeremy Denk and complete Bartok Cycles in New York City; Berkeley, California; Vancouver, British Columbia; Middlebury, Vermont; and Washington D.C. Other venues include Toronto, Canada; Atlanta, Georgia; Portland, Oregon; Pasadena, California; Philadelphia, Pennsylvania; and Urbana-Champaign, Illinois. Takács Quartet will also perform two concerts in Hong Kong and two concerts in Tokyo, Japan. Their next recording, to be released in October 2019, features Dohnanyi’s two piano quintets with Marc-André Hamelin, and his second string quartet. A recent tour with Garrick Ohlsson culminated in a recording for Hyperion of the Elgar and Amy Beach piano quintets that will be released in 2020. In 2014, Takács Quartet became the first string quartet to win the Wigmore Hall Medal. The medal, inaugurated in 2007, recognizes major international artists who have a strong association with the Hall. Recipients include Andras Schiff, Thomas Quasthoff, Menahem Pressler,
ABOUT THE ARTIST and Dame Felicity Lott. In 2012, Gramophone announced that Takács Quartet was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifetz, Leonard Bernstein, and Dame Janet Baker. The ensemble also won the 2011 Award for Chamber Music and Song presented by the Royal Philharmonic Society in London, England. Takács Quartet performed Philip Roth’s Everyman program with Meryl Streep at Princeton in 2014, and again with her at the Royal Conservatory of Music in Toronto, Canada in 2015. The program was conceived in close collaboration with Philip Roth. The Quartet is known for such innovative programming. They first performed Everyman at Carnegie Hall in 2007 with Philip Seymour Hoffman. They have toured fourteen cities with the poet Robert Pinsky, collaborate regularly with the Hungarian Folk group Muzsikas, and in 2010 they collaborated with the Colorado Shakespeare Festival and David Lawrence Morse on a drama project that explored the composition of Beethoven’s last quartets. Aspects of the quartet’s interests and history are explored in Edward Dusinberre’s book, Beethoven for a Later Age: The Journey of a String Quartet, which takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven’s quartets. Takács Quartet records for Hyperion Records, and their releases for that label include string quartets by Haydn, Schubert, Janáček, Smetana, Debussy, and Britten, as well as piano quintets by César Franck and Shostakovich (with Marc-André Hamelin) and viola quintets by Brahms (with Lawrence Power). For their CDs on the Decca/London label, the Quartet has won three Gramophone Awards, a GRAMMY Award®, three Japanese Record Academy Awards, Disc of the Year at the inaugural BBC Music Magazine Awards, and Ensemble Album of the Year at the Classical Brits. Full details of all recordings can be found in the recordings section of the Quartet’s website. The members of Takács Quartet are Christoffersen Faculty Fellows at the University of Colorado Boulder. The Quartet has helped to develop a string program with a special emphasis on chamber music, where students work in a nurturing environment designed to help them develop their artistry. Through the university, two of the quartet’s members benefit from the generous loan of instruments from the Drake Instrument Foundation. The members of Takács Quartet are on the faculty at the Music Academy of the West in Santa Barbara, California, where they run an intensive summer string quartet seminar, and Visiting Fellows at the Guildhall School of Music. Takács Quartet was formed in 1975 at the Franz Liszt Academy in Budapest, Hungary by Gabor Takács-Nagy, Károly Schranz, Gabor Ormai, and András Fejér, while all four were students. It first received
ABOUT THE ARTIST international attention in 1977, winning First Prize and the Critics’ Prize at the International String Quartet Competition in Evian, France. The Quartet also won the Gold Medal at the 1978 Portsmouth and Bordeaux Competitions and First Prizes at the Budapest International String Quartet Competition in 1978 and the Bratislava Competition in 1981. The Quartet made its North American debut tour in 1982. In June 2020, violist Richard O’Neill will join Takács Quartet. In 2001, Takács Quartet was awarded the Order of Merit of the Knight’s Cross of the Republic of Hungary, and in March 2011 each member of the Quartet was awarded the Order of Merit Commander’s Cross by the President of the Republic of Hungary.
DREAMERS’ CIRCUS
A driving force in Nordic music and Danish String Quartet collaborators
WEDNESDAY, MARCH 4 | 7:30PM Camp Concert Hall
6:00 PM | University Museums tours. 6:30 PM | Pre-performance discussion with members of the ensemble, led by Ian Stewart VPM World Music host.
TICKETS modlin.richmond.edu | Box Office | (804) 289-8980
MODLIN CENTER FOR THE ARTS
STAFF
ADMINISTRATION/ ARTISTIC Executive Director Deborah Sommers Assistant Director Shannon Hooker Artist Services & Contracts Manager Jo Bachman Artist Services Coordinator Katherine DeLoyht Emily Elizabeth James Administrative Coordinator Beverly Bradshaw Student Contracts Administrator Eden Kim
Student Stagehands Ashly Avila Isabel Bitner Emily Dixon Oona Elovaara Davin Hansen Sophia Hartman Meher Kaur Razan Khalil Chris Ortiz Mikayla Quinn Daniel Saravia Romero
OPERATIONS & AUDIENCE SERVICES Operations and Front of House Business Manager Christopher O’Neil
PIANO TUNER Ray Breakall
House Managers Kim Chiarchiaro Jane Dixon Daniel Hillard Jeff Karow Joey Luck Maura O’Brien Mitchell Sampson Ariel Vogel Alana Wiljanen
MARKETING & TICKET SALES Marketing Director Jonathan Gunter Marketing Associate/Editor Jennifer Lo Prete
Student Program Associate Caroline Wang Kacy Workman
Student Marketing Assistant Amelie Wu
PRODUCTION Production Manager Sean Farrell
Box Office Student Managers Mira Carroll Brier Clough Anthony Lawrence
Assistant Production Managers Patrick Kraehenbuehl TBA Student Stage Managers Annalise Bellinger Nathan Dinh Grace Lynch Matthew Mahoney Erin Moon Adeline Quinlen Sabrina Ramsby Elizabeth Shultz Pixie Zhang
Box Office Manager Jessie Haut Buford
Box Office Associates Phil Daniel Katie Fell Leah Hincks Leah Kulma Shuwen Lin Lily Miller Kelly Saverino Amy Smith
Front of House Coordinator Kim Chiarchiaro Assistant Operations Manager Darby Canipe Matthew Robinson
Student House Managers Brier Clough Sabrina Garcia Elizabeth Halasz Youn Hee Oh Arya Pazhwak Allison Zhang Mandy Zhou Student Head Ushers Becca Aldredge Katie Anderson Rong Bao Nathan Burns Maddie Delbeau Lily Dickson Camellia Liu Jackie Llanos Hernandez Kamene Mang’Oka Naweed Pazhwak Nick Ranieri Tyler Quinlivan
ACADEMIC PROGRAMS IN THE ARTS Tonja Softić, Chair Department of Art & Art History
Jennifer Cable, Interim Chair Department of Music
Sharon Feldman, Interim Chair Department of Theatre & Dance
Richard Waller, Executive Director UR Museums
The Grove Office Theresa Alford 804.347.8888
Cindy Barnett 804.512.3858
Jim Donohue Mary Charles Eckloff
Beth Cook
The Donahue Team
804.334.9383
804.814.1313
804.218.4685
804.912.0001
804.218.5783
Felix Farley
Beth Goldsmith
Anne K. Hall
Carolyn Hartz
Grace Johnson
Kathie McCann
Sarah Mumford
Whitney Pace
804.512.6466
804.339.4629
804.216.2221
804.614.6080
804.380.7073
804.937.3991
804.347.0463
The Cathy Saunders Team 804.304.3929
Laura Green
804.399.9622
Joe Moulis
804.971.0295
Tim Schoenman 804.239.8399
804.288.8888 5702 GROVE AVENUE RICHMOND, VA 23226 Licensed in the Commonwealth of VA
Thiel-Morris Team The vonBechmann Team 804.467.9022
804.314.9835
201 9-2020
UN IV E RS ITY of R I CH MON D F R E E P E R FO R M I N G A RT S C A L E N DA R Tucker-Boatwright events listed in this brochure are designated with the Tucker-Boatwright logo. For a full schedule of events and descriptions, visit as.richmond.edu/tucker-boatwright
DEPARTMENT OF THEATRE & DANCE a
O C TO B E R THUR.-FRI. 3-4
7:30 PM Appropriate by Branden Jacobs-Jenkins
SAT. 5
2:00 & Appropriate by Branden Jacobs-Jenkins 7:30 PM
SUN. 6
2:00 PM Appropriate by Branden Jacobs-Jenkins
THUR. 10 WED. 23
6:00 & Brother General Gabriel 7:00 PM 7:30 PM Artist Talk with Jennifer Tipton, Lighting Designer
NOVEMBER SAT. 16
8:00 PM Cross Currents
THUR.-FRI. 21-22
7:30 PM Pure Confidence by Carlyle Brown
SAT. 23
2:00 & Pure Confidence by Carlyle Brown 7:30 PM
SUN. 24
2:00 PM Pure Confidence by Carlyle Brown
FEBRUARY THUR.-SAT. 6-8
7:30 PM
SUN. 9
2:00 PM
Production Studies III Showcase Production Studies III Showcase
FRI.-SAT. 28-29
7:30 PM
University Dancers 35th Annual Concert
MARCH SUN. 1
2:00 PM
University Dancers 35th Annual Concert
SAT. 28
7:30 PM
Lío Villahermosa
FRI.-SAT. 3-4
7:30 PM
Company Stefanie Batten Bland presents Bienvenue (“Welcome”)
APRIL
THUR.-SAT. 16-18
7:30 PM How the García Girls Lost Their Accents by Karen Zacarías
SUN. 19
2:00 PM How the García Girls Lost Their Accents by Karen Zacarías
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DEPARTMENT OF MUSIC SEPTEMBER THUR. 5
David Esleck Trio 7:30 PM A Centennial Celebration of Nat King Cole
WED. 11
7:30 PM
FRI. 20
7:30 PM Forte documentary screening and discussion
Music Faculty Gala
O C T O B E R .a FRI. 4
7:30 PM
Family Weekend Concert
FRI. 18
7:30 PM
Ingrid Keller, piano and Jonathan Ruck, cello
WED. 23
Bach Among Friends with Lindsey Strand-Polyak, violin 7:30 PM and Joanna Kong, piano
NOVEMBER SUN. 3 FRI.-SAT. 8-9 SUN. 17
3:00 PM
UR Schola and Women’s Chorale
multiple Third Practice Electroacoustic Music Festival* 3:00 PM Global Sounds
MON. 18
7:30 PM
UR Wind Ensemble
THUR. 21
7:30 PM
UR Jazz and Contemporary Combos
MON. 2
7:30 PM
UR Chamber Ensembles
DECEMBER TUE. 3
7:30 PM Cuban Spectacular, Pictures at a Cuban Exhibition II
WED. 4
7:30 PM
SUN. 8
5:00 & 46th Annual Festival of Lessons and Carols 8:00 PM
UR Symphony Orchestra
MARCH MON. 2
Neumann Lecture on Music, Cry No More: Black Music and 7:30 PM Mythology of Post Racial America, Dr. Tammy L. Kernodle, speaker
SUN. 22
3:00 PM
Doris Wylee-Becker, piano
MON. 30
7:30 PM
Bruce Stevens, organ, The 4 German Baroque Bs — Buxtehude, Bruhns, Böhm, and Bach
SUN. 5
3:00 PM
UR Schola and Women’s Chorale
MON. 6
7:30 PM
UR Jazz Ensemble
WED. 8
7:30 PM
UR Symphony Orchestra
MON. 13
7:30 PM
UR Wind Ensemble
WED. 15
7:30 PM
UR Jazz and Contemporary Combos
APRIL
SAT. 18 SUN. 19 MON. 20
TBA Eighth Blackbird, Transient Landscapes 3:00 PM Global Sounds 7:30 PM
UR Chamber Ensembles
*Visit thirdpractice.org for a full schedule of events.
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U NI V E R SIT Y MUS EU M S
IMAGE CREDIT: William Hogarth (British, 1697-1764), Mr. Garrick in the Character of Richard the 3rd, 1746, engraving on laid paper (lifetime impression, second state of two), image 16 ½ x 20 ¾ inches, Joel and Lila Harnett Print Study Center, University of Richmond Museums, Museum purchase, funds from the Louis S. Booth Arts Fund, H2009.07.02.
2019-2020 EXHIBITIONS Across Time & Cultures: Ceramic Vessels from the Collection Through May 1, 2020 | Lora Robins Gallery of Design from Nature “I am in between”: Divisions of Self and Place in Art from the Harnett Print Study Center Collection August 20, 2019 to July 5, 2020 | Modlin Center Atrium and Booker Hall Lobby Structure & Gesture: Abstract Prints by Jack Tworkov August 20, 2019 to July 5, 2020 | Harnett Museum of Art Annual Student Exhibition August 22, 2019 to September 22, 2019 | Harnett Museum of Art Robert Taplin: Everything Imagined is Real (After Dante) August 22, 2019 to October 6, 2019 | Harnett Museum of Art The Age of Hogarth and Piranesi: Masterpieces of Eighteenth-Century European Printmaking September 20, 2019 to December 6, 2019 | Lora Robins Gallery of Design from Nature Continuum: Contemporary Ceramics in Historical Context September 20, 2019 to May 1, 2020 | Lora Robins Gallery of Design from Nature Satire & Social Criticism: Prints by William Hogarth from the Collection October 4, 2019 to March 29, 2020 | Harnett Museum of Art Contested Spaces: 2019 Harnett Biennial of American Prints October 22, 2019 to December 6, 2019 | Harnett Museum of Art Because of Conflict: Photographs by Peter Turnley January 15, 2020 to April 24, 2020 | Harnett Print Study Center Fritz Ascher, Expressionist January 16, 2020 to May 1, 2020 | Harnett Museum of Art Senior Thesis Exhibition April 17, 2020 to May 1, 2020 | Harnett Museum of Art University of Richmond Museums comprises the Joel and Lila Harnett Museum of Art, the Joel and Lila Harnett Print Study Center, and the Lora Robins Gallery of Design from Nature. Museum hours: Sunday through Friday, 1:00 to 5:00 PM (8/22/2019–5/1/2020). Closed Labor Day Weekend (8/31–9/2/2019), Fall Break (10/11–15/2019), Thanksgiving Week (11/23–12/1/2019), Semester Break (12/7/2019–1/14/2020), Martin Luther King, Jr. Day (1/20/2020), Spring Break (3/7–15/2020), Easter Weekend (4/11–12/2020), and Summer Break (5/2–8/18/2020). For group visits and tours, call Martha Wright at (804) 287-1258, or email mwright3@richmond.edu. (804) 289-8276 | Admission is free to all University Museums | museums.richmond.edu
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M O D L I N . R I C H M O N D. E D U | (8 0 4) 2 8 9 - 8 9 8 0
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QUILL THEATRE 2019-2020 SEASON BOOTLEG SHAKESPEARE:
MEASURE FOR MEASURE NOV 2, 2019 LIBBY S. GOTTWALD PLAYHOUSE
ROSENCRANTZ AND GUILDENSTERN ARE DEAD
JAN 23 - FEB 16, 2020 LIBBY S. GOTTWALD PLAYHOUSE
THE GREAT GATSBY
MARCH 5 - 21, 2020 VMFA LESLIE CHEEK THEATER
Quill Theatre
THE RICHMOND SHAKESPEARE FESTIVAL AT AGECOFT HALL ALL'S WELL THAT ENDS WELL
JUNE 4 -28, 2020
COMPLEAT WRKS OF WLLM SHKSPR (ABRIDGED) JULY 3, 2020
HENRY V
JULY 9 - AUG 2, 2020
SUBSCRIBE AT QUILLTHEATRE.ORG
GENERAL INFORMATION B OX O F F I C E ALL PATRONS MUST HAVE A TICKET TO GAIN ENTRY INTO THE PERFORMANCE HALL. Tickets may be purchased online at modlin.richmond.edu, in person at the Modlin Center box office, or by phone at (804) 289-8980. August through April, the Modlin Center box office is open from 10:00 AM to 5:00 PM, Monday through Friday, and beginning 90 minutes prior to most performances. Visit modlin.richmond.edu or phone (804) 289-8980 for a list of summer hours. DISCOUNTED TICKETS ARE AVAILABLE for Modlin Center Members at the Partner level or above, subscribers, senior citizens age 62 and older, children age 12 and younger, groups of 20 or more, University of Richmond (UR) employees and students, Osher Lifelong Learning Institute members, and non-UR students with a valid student ID. Multiple discounts do not apply. SAFETY AND DISRUPTIONS: Please contact the Modlin Center box office to find out if a performance is suitable for young audiences. All patrons, including infants and children, must have a ticket to gain entry into the performance hall. Please be considerate of other audience members. Disruptive patrons will be asked to exit the performance hall. Use of hand-held electronic devices during performances is strictly prohibited. Use of such devices may result in confiscation of the device or removal from the venue. ACCESSIBILITY: When purchasing tickets, please inform the box office of any required accommodations. If tickets are purchased in accessible sections by patrons that do not require accessible seating, those patrons may be moved at the discretion of house management. Large-print programs, assistive-listening devices, and earplugs are available at the will-call desk for most performances. All performance halls are accessible to persons with wheelchairs and/or limited mobility. Accessible parking is also available. Please contact the Modlin Center box office or visit modlin.richmond.edu for parking information. When attending an event, please allow time for parking and ticket retrieval. Late seating will be at the discretion of house management. By entering the Modlin Center, audiences are consenting to being filmed, photographed, recorded in print or electronic format incidentally, and having those images appear in any media whatsoever except for traditional advertising where we will use consent forms. Use will be without written consent or compensation to you. The Modlin Center may use, edit or reproduce such assets or share them with others for any purpose related to the promotion of the Modlin Center and its related programs and activities. Notice of photography, filming and recordings during an event will be placed outside the theatre venues. If you do not wish to be included in videos, photographs or recordings, please alert the Modlin staff or videographer/photographer.
I N C L E M E N T W E AT H E R CANCELLATION: Performances will only be cancelled in cases of extreme weather conditions. If the artist(s) have arrived in Richmond, the show will likely proceed. For information regarding the status of an event, visit modlin.richmond.edu or call the box office at (804) 289-8980. Please note that refunds will not be given unless a performance is cancelled. PROGRAMS: All programs are subject to change. PLEASE NOTE THAT ALL SALES ARE FINAL: Refunds will not be given unless a performance is cancelled. Subscribers and Members and the Partner Level or higher may exchange tickets for a future event up to 24 hours prior to a performance.
B EC O M E A M O D L I N C E N T E R S U B SC R I B E R ! Purchase tickets to four or more performances to become a Modlin Center Subscriber. Subscribers enjoy the following benefits: •
PICK FOUR: Choose four or more performances to create your custom season subscription.
•
SAVE: Modlin Center Subscribers enjoy a 20% discount on performance tickets.
•
GET PRIORITY ACCESS: Subscribers are able to purchase tickets before single-event ticket buyers.
•
ENJOY FLEXIBILITY: Only Modlin Center Subscribers and Members at the Partner level or above are permitted to exchange their tickets.
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MEMBERSHIP B ECO M E A M O D L I N C E N T E R M E M B E R! Become a Modlin Center Member and be part of one of the region’s most dynamic performing arts centers. Your support is vital in our mission to present diverse and vibrant arts experiences that engage, inspire, and enrich the community on and off the University of Richmond campus. Your financial gift supports important programs including: •
THE MODLIN CENTER SCHOOL SERIES, which provides yearly programming to school children at a free or reduced cost to schools.
•
OPPORTUNITIES TO LEARN FROM ARTISTS through pre-concert Artistic Voices discussions, post-show questionand-answer-sessions, master classes, workshops, and additional free, interactive opportunities with artists.
•
SUPPORT for the Modlin Center for the Arts’ vibrant programs and world-class artists.
•
COMMISSIONING of new works.
•
OPPORTUNITIES FOR THE COMMUNITY to gather and network during pre- and post-show receptions.
TO BECOME A MODLIN CENTER MEMBER, please review the categories and benefits below and select the membership level that is right for you. You tax-deductible contributions can be made online at modlin.richmond.edu, or by entering your donation amount on the brochure order form and mailing to: Modlin Center for the Arts, 453 Westhampton Way, University of Richmond, VA 23173.
PATRON OF THE ARTS – $10,000+ E. Rhodes & Leona B. Carpenter Foundation The Cultural Affairs Committee Mid Atlantic Arts Foundation H. G. Quigg Endowment Mayo Arts Fund I N V E STO R – $1,000-$2,499 Anonymous Mr. and Mrs. Stanley Jones PA RT N E R – $500-$999 Anonymous (6) Andy and Laura Ferguson Edward Villanueva A DVO C AT E – $250-$499 Anonymous Nicholas and Ellen Cooke Dr. and Mrs. Stephen Haut Dr. Andrew F. Newcomb and Dr. Judith Meister Lisa and John O’Brion Donald And Patricia Rackl Robert M. and Anne B. Terry Dr. and Mrs. Wilhelm Zuelzer
MEMBER – $100-$249 Anonymous (17) David E. Anderton Jr. Allison and Alan Ball Nancy Boraks Dr. and Mrs. William Brickhouse Lewis and Sandy Buford Joe Holicky and Irene Burlock Bernie and Sue Cowardin Dr. and Mrs. Barbu Demian Christopher English and Meda Lane Mike and Vivian Flynn Dale David Fortner Gary Goldberg Mike Kastner and Mindy Fast James and Nikki Katsaros Edna C. Massey Maureen McKay David and Anne Messenger Msgt. Michael Morehouse and Lori McCoy Linda and Kenneth Owens Jane and Bill Ranson Genevieve and Christopher Roberts Andrew and Kathryn Rockett Dr. Leslie W. Rose III Archer and Elaine Yeatts
*Priority ticket processing applies to Modlin Center events only and does not apply to University of Richmond or outside rental client events that take place at the center. ** Mutually agreed upon date, depending on availability. Your gift may also qualify you for other recognition through the University of Richmond. For more information or questions related to tax deductibility, please contact the Office of Annual Giving at (804) 289-8052 or by email at annualgiving@richmond.edu.
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T H ANKS TO O U R S P ON SO R S & COM MU NIT Y PA RT N E R S The E. Rhodes & Leona B. Carpenter Foundation | HG Quigg Endowment Mayo Arts Fund | Cultural Affairs Committee
THANK YOU MODLIN VOLUNTEERS Our friendly and engaged volunteers are the foundation of the Modlin Center. It is one of the reasons so many audience members enjoy coming to the Modlin Center to experience live performing arts. Volunteering is fun and rewarding and there is a place here for everyone.
For the 2019/20 season, we would like to recognize those volunteers who contributed the most service hours to our organization. Thanks for being the best of the best! Chantal Andrews James Arrowood Freddy Boon Janis Fackler Stan Feuer
Robin Jones Eileen May Karen Rice Art Ritter Mindi Seidel
Bernice Strommer Carol Warner Christopher Wittkamp
If you would like to volunteer with us, please visit the Modlin Center website at modlin.richmond.edu/support/volunteer.html to learn more.
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A love of learning lives within us.
Osher
OSHER MEMBERS COME TO THE UNIVERSITY OF RICHMOND with a shared love of learning, a keen intellectual curiosity and a desire to give back. They explore their interests through a variety of classroom experiences, interest groups, guest lectures and special events. They share their vast professional experience and knowledge through volunteer leadership opportunities in the classroom, across campus, in the community and through administrative support. Memberships start at $75 for people 50 and better.
osher.richmond.edu
Our name has changed, but not our commitment to you. Community Idea Stations is now VPM, Virginia’s home for Public Media. A half-century ago, we had a vision to bring the stories that matter to the people of our community, starting with educational programming like Sesame Street. Today, our commitment to you is stronger than ever, as is our responsibility to provide those stories in objective, balanced ways. So, while our name has changed to better reflect the people in Virginia that we serve, our purpose remains the same, including our promise to educate, entertain and inspire.
VPM.org
Relax in rejuvenating surroundings. The Westin Richmond is a proud sponsor of The University of Richmond’s Modlin Center for the Arts and we invite you to enjoy our special rate during your stay. Call (804) 282-8444 and ask for University of Richmond rate!
THE WESTIN RICHMOND 6631 WEST BROAD STREET RICHMOND, VA 23230 USA
WWW.WESTINRICHMOND.COM
© 2019 Marriott International, Inc. All Rights Reserved. Marriott Proprietary Information
VIRGINIA
ARTSFESTIVAL
Two virtuoso artists in three historic cities!
BEETHOVEN CELEBRATION EMPEROR CONCERTO AND SYMPHONY NO. 9 (‘CHORAL’) Virginia Symphony Orchestra, JoAnn Falletta, conductor Olga Kern, piano
JoAnn Falletta
Olga Kern
FRIDAY, MAY 15
SATURDAY, MAY 16
SUNDAY, MAY 17
FERGUSON CENTER FOR THE ARTS, NEWPORT NEWS
CHRYSLER HALL, NORFOLK
SANDLER CENTER FOR THE PERFORMING ARTS, VA BEACH
VIRGINIA
INTERNATIONAL
TATTOO
APRIL 30 - MAY 3, 2020 SCOPE ARENA, NORFOLK, VA
HONORING THE GREATEST GENERATION! GROUPS SAVE!
FOR PRIORITY SEATING AND TRIP PLANNING, CALL (757) 282-2819
INFORMATION AND TICKETS
VAFEST.ORG